BILL EVANS — The Alternative Man (1986) FLAC (tracks+.cue), lossless

The fact that Bill Evans' years as a Miles Davis sideman had so positive an effect on him is evident on The Alternative Man -- an unpredictable fusion date that, although overproduced at times, is full of spirited blowing and adventurous composing. Ranging from the reggae-influenced "The Path of Resistance" to the addictive "Let the Juice Loose!" to the angular "Jojo," Evans' material is consistently impressive. A Michael Brecker disciple but definitely his own man, Evans tends to be robust and aggressive on tenor and more reflective on soprano. Guest John McLaughlin (electric guitar) is characteristically persuasive on the poetic "Flight of the Falcon." Alex Henderson
Tracklist :
1    The Alternative Man 5:45
Bass Guitar – Mark Egan
Drums – Danny Gottlieb
Electric Guitar – Jeff Golub
Keyboards – Mitchel Forman
2    The Path Of Least Resistance 4:37
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards – Clifford Carter
Percussion – Manolo Badrena
Vocals, Composed By – Clifford Carter
3    Let The Juice Loose 5:40
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Hiram Bullock
Percussion – Manolo Badrena
Trumpet – Lew Soloff
4    Gardiners Garden 4:30
Bass – Mark Egan
Electric Guitar, Composed By – Chuck Loeb
Percussion – Danny Gottlieb
5    Survival Of The Fittest 3:25
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena
6    Jojo 6:21
Composed By – Rich Meitin
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards, Composed By – Clifford Carter
Percussion – Manolo Badrena
7    The Cry In Her Eyes 5:41
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Dave Hart, Hiram Bullock
8    Miles Away 5:24
Bass Guitar – Marcus Miller
Drums – Al Foster
9    Flight Of The Falcon 7:23
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena

Grover Washington, Jr. — Winelight (1980-2014) RM | Serie Fusion Best Collection 1000 | FLAC (tracks+.cue), lossless

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz. Scott Yanow

Tracklist  :
1    Winelight 7:32
Written-By – William Eaton
2    Let It Flow (For "Dr. J") 5:52
Written-By – Grover Washington, Jr.
3    In The Name Of Love 5:26
Written-By – Ralph MacDonald, William Salter
4    Take Me There 6:16
Written-By – Grover Washington, Jr.
5    Just The Two Of Us 7:23
Written-By – Bill Withers, Ralph MacDonald, William Salter
6    Make Me A Memory (Sad Samba) 6:32
Written-By – Grover Washington, Jr.
Credits :
Backing Vocals – Hilda Harris, Ullanda McCullough, Yvonne Lewis
Bass – Marcus Miller
Clavinet – Paul Griffin (tracks: 1), Raymond Chew (tracks: 1)
Congas, Percussion, Electronic Drums [Syndrums] – Ralph MacDonald
Drums – Steve Gadd
Electric Piano [Fender Rhodes] – Paul Griffin (tracks: 2, 4), Richard Tee (tracks: 1, 3, 5, 6)
Guitar – Eric Gale
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Grover Washington, Jr.
Steel Drums – Robert Greenidge
Synthesizer [Oberheim 8-Voice] – Ed Walsh
Synthesizer [Oberheim] – Bill Eaton (tracks: 5)
Technician [Steel Drums Tuned By] – Rudolph Charles
Vocals – Bill Withers (tracks: 5)

MARCUS MILLER — Renaissance (2012) FLAC (tracks+.cue), lossless

Marcus Miller's career as a sideman, composer, and producer in jazz, R&B, and pop has been prolific. He's continuously pushed boundaries in order to blur and integrate genres. Renaissance is his first studio recording in five years (Free was released in 2007 in Europe and Japan, then re-released in the United States as Marcus in 2008). Renaissance's title reflects the idea that music needs a rebirth to keep up with the creative possibilities afforded by technology, and to reflect the ever-shifting, politically charged cultural landscape. The manner in which he posits this is anything but theoretical, however. Renaissance may be the most emotive offering in Miller's catalog. Groove and firepower are near constants here. Jazz-funk, R&B, rock, post-bop, club-jazz, and more come together in a wide-ranging collection that is deeply focused and expertly sequenced. Using a revolving cast whose core is alto saxophonist Alex Han, guitarist Adam Agati, and keyboardist Federico Gonzalez Peña, guests include trumpeters Maurice Brown and Sean Jones, organist Bobby Sparks, and more. Things get off to a skittering start on "Detroit," with Miller's bass riding heard over a knotty jazz-funk groove. Louis Cato's drums accent breaks in key sections, the souled-out horns highlight the choruses, and Agati's guitar nastily accents it all while Han's alto solo is a monster. The cover of "Slipping Into Darkness" melds Kris Bowers' piano and Sparks' organ with hand percussion, both trumpets, and Miller's funky reggae groove. The melody accents syncopation on the backbeat before weaving Bob Marley's and Peter Tosh's "Get Up, Stand Up" in as a logical yet surprising extension. Bowers' knotty piano solo illustrates the wide possibilities for jazz improvisation. "Jekyll & Hyde" combines alternate passages of elegant, soulful contemporary jazz with riff-driven rock as Agati and Miller complement and push one another. "Revelation" is a rumbling modal jam with funky highlights and fine soloing by Han. "Gorée (Go-ray)," with Miller on bass clarinet, is a lilting, post-bop ballad with lovely melodic interplay; it was inspired by his visit to the House of Slaves on Gorée Island, his feelings standing inside and reflecting on the horror of the slave experience. It's emotional quality contains numerous dimensions. It is a meditation on how the ends of the lives of these slaves as they knew them also birthed of the African-American experience, one of continued struggle that culturally evolved and transfromed into diverse musical forms that bore witness to tragedy but also triumph as the art created from this history has brought joy and meaning to individuals and societies across globe. Its tenderness and equanimity tells the whole story. "Cee-Tee-Eye," while a thoroughly contemporary jazz tune, pays excellent tribute to the inspiration of Creed Taylor's label. The set closer, a simple reading of "I'll Be There," showcases the bassist's gift for lyricism and understatement. Renaissance is a lofty title, but the inspired performances Miller puts on offer get very close to delivering on the ambition it promises. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Detroit 5:44
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – David Isaac
Piano, Electric Piano [Fender Rhodes] – Kris Bowers
Trumpet – Maurice Brown  
Written-By – Marcus Miller
2 Redemption 6:09
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Electric Piano [Fender Rhodes] – Frederico Gonzalez Peña
Guitar – Adam Rogers 
Mixed By – David Isaac
Trumpet – Sean Jones 
Written-By – Marcus Miller
3 February 4:15
Acoustic Guitar – Adam Rogers 
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums, Djembe – Louis Cato
Mixed By – David Isaac
Piano – Frederico Gonzalez Peña
Trumpet – Maurice Brown 
Written-By – Marcus Miller
4 Slippin' Into Darkness 9:15
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Rogers 
Mixed By – David Isaac
Organ – Bobby Sparks
Percussion – Ramon Yslas
Piano – Kris Bowers
Trumpet – Sean Jones 
Trumpet [Muted] – Maurice Brown 
Written-By – Morris DeWayne Dickerson, Charles Miller, Harold Ray Brown, Howard E. Scott, Lee Oskar, LeRoy L. Jordan, Sylvester Allen
5 Setembro (Brazilian Wedding Song) 6:38
Alto Saxophone – Alex Han
Bass [Fretless], Bass Clarinet, Double Bass [Acoustic Bass] – Marcus Miller
Drums – Louis Cato
Electric Piano [Fender Rhodes], Piano – Frederico Gonzalez Peña
Featuring – Gretchen Parlato, Rubén Blades
Mixed By – David Isaac
Percussion – Ramon Yslas
Vocals – Gretchen Parlato, Rubén Blades
Written-By – Gilson Peranzzetta, Ivan Lins
6 Jekyll & Hyde 6:30
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Rogers 
Mixed By – David Isaac
Organ – Bobby Sparks
Piano – Frederico Gonzalez Peña
Trumpet – Sean Jones 
Written-By – Marcus Miller
7 Interlude: Nocturnal Mist 1:16
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – David Isaac
Percussion – Ramon Yslas
Piano – Frederico Gonzalez Peña
Written-By – Luther "Mano" Hanes
8 Revelation 4:46
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – David Isaac
Percussion – Ramon Yslas
Piano – Frederico Gonzalez Peña
Written-By – Marcus Miller
9 Mr. Clean 5:01
Alto Saxophone – Alex Han
Bass – Marcus Miller
Clavinet, Organ – Bobby Sparks
Drums – Louis Cato
Electric Piano [Fender Rhodes] – Frederico Gonzalez Peña
Guitar – Adam Rogers 
Mixed By – Bruce Miller
Trumpet – Sean Jones 
Written-By – Weldon Irvine, Jr.
10 Goreé (Go-ray) 5:38
Acoustic Guitar – Adam Rogers 
Alto Saxophone – Alex Han
Bass Clarinet, Bass – Marcus Miller
Drums – Louis Cato
Mixed By – Taka Honda
Piano – Frederico Gonzalez Peña
Written-By – Marcus Miller
11 CEE-TEE-EYE 7:39
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums, Congas – Louis Cato
Electric Piano [Fender Rhodes] – Kris Bowers
Guitar – Adam Agati, Paul Jackson, Jr.
Mixed By – David Isaac
Trumpet – Maurice Brown 
Written-By – Marcus Miller
12 Tightrope 5:46
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – Taka Honda
Piano – Kris Bowers
Vocals – Dr. John
Written-By – Antwan Patton, Charles Delbert Joseph II, Janelle Monáe Robinson, Nathaniel Irvin III
13 I'll Be There 3:48
Bass – Marcus Miller
Mixed By – Taka Honda
Written-By – Berry Gordy, Jr., Bob West, Freddy Wexler, Hal Davis, Willie Hutchinson

S.M.V. —CLARKE | MILLER | WOOTEN— Thunder (2008) FLAC (tracks+.cue), lossless

Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two. Clarke was no stranger to playing with his fellow bottom dwellers, as he proved on his Night School DVD where he joined with about ten other bassists for an extended version of "School Days." Still, it's amazing how well these guys navigate their strummed, plucked, and thumped parts around each other without clashing. Horns, drums, loops, and keyboards (from guests Chick Corea and George Duke as well as Miller) flesh out the upper registers while Miller's clean, unfussy production also keeps things in order. Acoustic bowed bass and strings on "Milano" shift the sound away from the more rhythmic approach naturally favored on the majority of the tracks. The three amigos take on a Spanish spaghetti Western feel for "Los Tres Hermanos," a refreshing changeup that features some of the disc's most nimble playing and its prettiest melody. Some tunes will be familiar to jazz fans. "Tutu" was written by Miller for Miles Davis and Clarke's "Quiet Afternoon" gets referenced, as does his "Silly Putty," but these versions are quite different than the originals. All three musicians weave their lines together on the lovely ballad "Lil' Victa," with Clarke's high end sounding enough like a guitar to hold down the strong melodic line. The closing "Grits" is a hot slab of funky jazz that gives each a chance to solo over a sparse beat. Although their styles are relatively distinct, it would have been helpful if the liner notes described who was playing which part, especially for newcomers. Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners. Hal Horowitz
Tracklist :
1    Maestros De Las Frecuencias Bajas 2:52
Bass – SMV
Bass Clarinet, Alto Saxophone, Tenor Saxophone – Marcus Miller
Drums – Ronald Bruner Jr.
Keyboards – Ruslan Sirota
Synthesizer – Ariel Mann
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By, Arranged By – Stanley Clarke
2    Thunder 6:37
Bass – SMV
Vocals, Voice [Voice Trumpet], Human Beatbox – Butterscotch
Written-By, Synthesizer, Programmed By – Marcus Miller
3    Hillbillies On A Quiet Afternoon 6:11
Bass – SMV
Clavinet – George Duke
Drums – Derico Watson
Synthesizer – Marcus Miller
Written-By – Stanley Clarke, Victor Wooten
4    Mongoose Walk 5:57
Bass – SMV
Drums – Derico Watson
Percussion – Kevin Ricard
Piano – Chick Corea
Written-By – Stanley Clarke, Victor Wooten
Written-By, Synthesizer, Keyboards – Marcus Miller
5    Los Tres Hermanos 5:25
Bass – SMV
Drums – Poogie Bell
Percussion – Kevin Ricard
Written-By, Synthesizer – Marcus Miller
6    Lopsy Lu - Silly Putty 6:12
Arranged By – Victor Wooten
Arranged By, Synthesizer, Programmed By – Marcus Miller
Bass – SMV
Drums – Poogie Bell
Keyboards – George Duke
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By – Stanley Clarke
7    Milano 4:21
Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Percussion – Kevin Ricard
Written-By, Bass, Synthesizer – Marcus Miller
8    Classical Thump 4:50
Arranged By, Bass – Marcus Miller
Written-By, Arranged By, Bass – Victor Wooten
9    Tutu 5:04
Arranged By, Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Drums – J.D. Blair
Keyboards – Karlton Taylor
Vocals – Butterscotch
Written-By, Arranged By, Bass, Bass Clarinet, Synthesizer, Programmed By – Marcus Miller
10    Lil' Victa 4:10
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By – Stanley Clarke
11    Pendulum 4:15
Bass – SMV
Human Beatbox – Butterscotch
Written-By – Antoinette Clinton, Stanley Clarke, Victor Wooten
Written-By, Synthesizer – Marcus Miller
12    "Lemme Try Your Bass" 0:57
Written-By, Bass – Marcus Miller, Stanley Clarke
13    Grits 5:24
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By, Synthesizer – Marcus Miller

JOE SAMPLE — The Hunter (1983) FLAC (tracks+.cue), lossless

Joe Sample returns to the smooth jazz style of his popular albums Rainbow Seeker, Carmel, and Voices in the Rain on 1983's The Hunter. The keyboardist fills up a studio with like-minded session musicians including trumpeter Tom Browne, horn players Chuck Findley, Jerry Hey, and Ernie Watts, guitarists Dean Parks, David Spinozza, and Phil Upchurch, bassists Abraham Laboriel and Marcus Miller, percussionist Paulinho Da Costa, and drummer Steve Gadd, and sets them loose on some rhythmic tracks with a rock/R&B feel. The beat is paramount, a constant augmented by funky, popping basslines, with guitar solos and horn charts overlaid. And, weaving in and out is Sample, on either acoustic or electric piano, finding room to solo extensively. The solos are more of the rock variety than what a conventional jazz fan would recognize, since they are anchored to the relentless beats. But Sample is one of the more accomplished players in smooth jazz, and his sidemen are able to support him and, when given the chance, match him in their playing. William Ruhlmann    Tracklist & Credits :

JOE SAMPLE — Spellbound (1989) FLAC (tracks+.cue), lossless

With the supremely funky rhythm section of Marcus Miller (bass), Lenny Castro (percussion) and Omar Hakim (drums) propelling his piano most of the way -- the other ringers on a few tracks aren't bad either -- you would think that Joe Sample couldn't miss on this solo outing, Spellbound. Indeed, his distinctive piano cannot be mistaken for anyone else's, free of the usual mainstream influences and always a pleasure to groove to. And yet there is something too comfortable, too settled, too automatic about the musicmaking here, as if the grooves are being smothered by a warm, snuggly electric blanket. Another problem is the material; not much leaps into your memory banks. Nor is it meant to, perhaps, since the gently sustained electronic textures suggest that this is, above all, high-class background music. Al Jarreau, Michael Franks and Take 6 -- all Warner Bros. signees, natch -- put in characteristic cameo vocal appearances on one track apiece, and a background choir sings "Luna en New York" in Spanish. Richard S. Ginell
Tracklist & Credits :

JOE SAMPLE — Ashes to Ashes (1990) WV (image+.cue), lossless

Joe Sample's recordings throughout much of his career have been consistent and quite interchangeable. Backed by a semi-metronomic if usually grooving rhythm section, Sample's acoustic piano on this Warner Bros. CD is almost always in the lead, playing easy listening jazz-pop; nothing memorable or unique occurs. The lightweight melodies are quite easy to take (serving as excellent background music), but it is a pity that Joe Sample has often seemed satisfied to stay at this unimaginative level, emulating Ramsey Lewis. Scott Yanow   Tracklist & Credits :

JOE SAMPLE — Sample This (1997) FLAC (tracks+.cue), lossless

In case anyone has forgotten how ingratiating and prolific Joe Sample the songwriter has been, the master of elegant funk re-records 14 songs here. And it is a cooler, more reflective light in which Sample and producer George Duke see his old tunes in the '90s: with relaxed, uncomplicated, to-the-point acoustic piano leads; a mildly percolating beat; and a veneer-thin garnish of electronics. It is both safe and risky to revisit the past -- safe because one is surrounded by comfortable material and risky because artists seldom recapture all of the old spark. Alas, more often than not, the latter applies to Sample's attempt to go home again, though the good tunes remain good tunes. Some of the songs go back to the Crusaders; "Free as the Wind" especially lacks the energy of the original, but "Put It Where You Want It," thanks in part to Sample's use of a funky old Wurlitzer electric piano, has a nice groove. Finally, just for fun, Sample slips in a jaunty solo benediction courtesy of Jelly Roll Morton, "Shreveport Stomp." Richard S. Ginell
Tracklist & Credits :

LONNIE LISTON SMITH - Loveland (1978-2016) Crossover & Fusion Collection 1000 / RM / FLAC (image+.cue), lossless

Lonnie Liston Smith moved from RCA to Columbia with Loveland, an LP that is sleek and commercial but not without heart or creativity. While Loveland fared well among fans of fusion, crossover and R&B, the keyboardist had long since lost the attention of acoustic jazz's hardcore, which asserted that he had turned his back on his roots and was no longer playing jazz. But in fact, jazz is essentially what Smith is playing on Loveland, although it's jazz mixed with soul, funk and pop. "We Can Dream "(which features Donald Smith on vocals) is strictly R&B, but instrumentals like "Sunburst," "Explorations" and "Springtime Magic" are basically an extension of the spiritual post-bop Smith had played with Pharoah Sanders, Rahsaan Roland Kirk and Gato Barbieri. In fact, one of the high points of this LP is an interpretation of Kirk's "Bright Moments." On these spiritual performances, Smith isn't divorcing himself from the influence of Sanders, Kirk, John Coltrane and McCoy Tyner--he's simply combining it with a passion for soul and pop. Loveland falls short of the excellence of Expansions, Visions of a New World or Astral Traveling, but it's still an enjoyable collection of mood music.  by Alex Henderson 
Tracklist :
1 Sunburst
2 Journey Into Love
Marcus Miller
3 Floating Through Space
Lonnie Liston Smith
4 Bright Moments
Rahsaan Roland Kirk
5 We Can Dream
Marcus Miller
6 Springtime Magic
7 Love Land
Lonnie Liston Smith
8 Explorations
David Hubbard / Lonnie Liston Smith
Credits :
Lonnie Liston Smith - electronic keyboards, acoustic piano
Ronald D. Miller - electric guitar, acoustic guitar
David Hubbard - soprano saxophone, flute
Donald Smith - flute, vocals
Al Anderson, Marcus Miller - bass
Lawrence Killian - congas, percussion
George Johnson - drums

BILL EVANS - Escape (1996) FLAC (tracks+.cue), lossless

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz -- essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style -- a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T -- is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. by Alex Henderson

Tracklist:
1    Swing Hop 5:34
Drums – Billy Kilson
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trombone – Ken Meccia
Trumpet – Wallace Roney
Vocals – Loni Groves, Mark Ledford, Robin Beck
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
2    Escape 5:59
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Scratches – Max Risenhoover
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
3    Reality 6:19
Backing Vocals – Mark Ledford
Drums – Billy Kilson
Electric Bass – Ron Jenkins
Guitar – Gary Poulson
Keyboards, Drum Programming – Jim Beard
Percussion, Backing Vocals – Manolo Badrena
Soprano Saxophone – Bill Evans
Words By, Rap – Ahmed Best
Written-By – Bill Evans
4    The Sunday After 6:00
Backing Vocals – Mark Ledford
Electric Bass – Mark Egan
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
5    Rattletrap 4:36
Bass – Ron Jenkins
Drums – Steve Ferrone
Guitar – Gary Poulson
Organ [Hammond B-3] – Jim Beard
Tenor Saxophone, Alto Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans
6    Flash In Dreamland 5:17
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone – Bill Evans
Vocals – M.C. 900 Ft Jesus
Words By – Mark Griffin
Written-By – Bill Evans, Jim Beard
7    Coravilas 7:39
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Written-By – Bill Evans, Jim Beard
8    Easilee 4:55
Bass – Victor Bailey
Drums – Steve Ferrone
Guitar [Lead] – Lee Ritenour
Keyboards – Jim Beard
Percussion – Manolo Badrena
Rhythm Guitar – Jon Herington
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
9    Undercover 5:26
Drums – Steve Ferrone
Electric Bass – Marcus Miller, Ron Jenkins
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Tenor Saxophone, Alto Saxophone – Bill Evans
Written-By – Bill Evans
10    La Di Da 5:55
Backing Vocals – Mark Ledford
Bass – Victor Bailey
Drums – Jim Beard, Max Risenhoover
Guitar – Jon Herington
Keyboards – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
11    Armsakimbo 4:38
Bass – Victor Bailey
Drums [Additional] – Max Risenhoover
Guitar – Jon Herington
Keyboards, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
12    Aftermath 6:15
Backing Vocals – Mark Ledford
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Jon Herington
Keyboards, Programmed By [Bass] – Jim Beard
Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
13    Undercover (Remix - Marcus' Mad Flav) 5:30
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Mixed By – Jim Beard
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Remix – Marcus' Mad Flav
Tenor Saxophone, Alto Saxophone, Written-By – Bill Evans

LENNY WHITE - Streamline (1978-2002) APE (image+.cue), lossless

Lenny White's 1977 recording The Adventures of Astral Pirates was an incredibly tough act to follow -- so tough, in fact, that anything less than a five-star gem was likely to seem a bit disappointing. Streamline, the 1978 LP that came right after The Adventures of Astral Pirates, isn't a five-star gem, but it isn't bad either. Although not in a class with The Adventures of Astral Pirates or 1975's Venusian Summer, let alone White's work with Return to Forever, Streamline is a generally decent, if mildly uneven, collection of instrumental jazz fusion and R&B vocal numbers. While this album (which White produced with Earth, Wind & Fire keyboardist Larry Dunn) isn't as R&B-oriented as White's Twennynine projects would be, the drummer is obviously going after R&B audiences on "Time" (a somewhat Earth, Wind & Fire-ish funk item) and an interesting cover of the Beatles' "Lady Madonna" (which features soul goddess Chaka Khan). But there is also plenty of fusion, and instrumentals like "Night Games," "Struttin'," and the Brazilian-influenced "Pooh Bear" are enjoyable even though they fall short of the brilliance of the material on The Adventures of Astral Pirates and Venusian Summer. While Streamline isn't among White's essential albums, it's a likable set. by Alex Henderson 
Tracklist:
1     Struttin'    4:45
    Synthesizer [Mini Moog] – Larry Dunn
2     Lady Madonna     3:54
    Lead Vocals, Backing Vocals – Chaka Khan
3     12 Bars From Mars     3:10
4     Earthlings     4:48
5     Spazmo Strikes Again     0:25
6     Time     2:58
7     Pooh Bear     5:02
8     Lockie's Inspiration     0:41
9     I'll See You Soon     6:30
    Bass – Marcus Miller
10     Night Games     3:58
11     Cosmic Indigo     0:50
    Bass – Marcus Miller
Credits:
Bass [Basses] – Marcus Miller
Drums, Percussion – Lenny White
Guitar – Jamie Glaser, Nick Moroch
Keyboards – Denzil "Broadway" Miller
Keyboards, Vocals – Donald "Captain Keyboards" Blackman
Programmed By [All Synthesizers] – Larry Dunn
Chaka Khan – lead vocals (track 2)

Diane Reeves – vocals (track 4), background vocals

MILES DAVIS - The Man with the Horn (1981-1996) RM / FLAC (image+.cue), lossless

Miles Davis' first comeback record finds the trumpeter a bit shaky (he would improve album by album during the next few years) and has a few poppish throwaway tracks; it is doubtful if anyone really remembers the title cut or "Shout." But with Bill Evans on soprano and electric bassist Marcus Miller, the other four selections are more rewarding with Davis forming the nucleus of his new band. by Scott Yanow
Tracklist:

1 Fat Time 9:57

2 Back Seat Betty 11:17
3 Shout 5:53
Synthesizer [Mini Moog] – Randy Hall
Synthesizer [Yamaha Cp30] – Robert Irving, III
4 Aïda 8:13
5 The Man With The Horn 6:36
Lead Vocals, Backing Vocals, Guitar, Celesta, Synthesizer [Mini Moog] – Randy Hall
Piano, Synthesizer [Yamaha Cp30] – Robert Irving, III
6 Ursula 10:48
Credits:
Bass [Fender] – Felton Crews (tracks: 3, 5), Marcus Miller (tracks: 1, 2, 4, 6)
Drums – Al Foster (tracks: 1, 2, 4, 6), Vincent Wilburn (tracks: 3, 5)
Guitar – Barry Finnerty (tracks: 2 to 4, 6), Mike Stern (tracks: 1)
Percussion – Sammy Figueroa (tracks: 1 to 4, 6)
Soprano Saxophone – Bill Evans (tracks: 1, 2, 4 to 6)
Written-By, Arranged By – Miles Davis (tracks: 1, 2, 4, 6), Randy Hall (tracks: 3, 5), Robert Irving, III

MILES DAVIS - We Want Miles (1982-2014) Jazz Collection 1000 – 2CD / RM / FLAC (tracks+.cue), lossless

Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre." by Scott Yanow
Tracklist 1 :
1 - Jean Pierre 10:43
2 - Back Seat Betty 8:17
3 - Fast Track 15:19
4 - Jean Pierre 4:01
- Bonus Track -
5 - Ursula 2:08
6 - Aida 12:19
Tracklist 2 :
1 - My Man's Gone Now 20:17
2 - Kix 18:46
- Bonus Track -
3 - Fat Time 13:07
Credits:
Miles Davis (trumpet and keyboards)
Bill Evans (tenor, soprano saxophone)
Mike Stern (electric guitar)
Marcus Miller (electric bass)
Al Foster (drums)
Mino Cinelu (percussion)

MILES DAVIS - Star People (1983-2001) RM / FLAC (image+.cue), lossless

On this 1983 release, Miles Davis rediscovers the blues. He really stretches out on "Star People," making dramatic use of silence and placing each note carefully. "Come Get It" is also memorable although "U 'n' I" (which had the potential to catch on) is only heard in a truncated version. In general Davis is in fine form on this set and, although saxophonist Bill Evans is barely heard from (many of his solos were edited out), the contrasting guitars of Mike Stern and John Scofield hold one's interest. by Scott Yanow
Tracklist:
1 Come Get It 11:01
2 It Gets Better 10:06
3 Speak 8:26
4 Star People 18:43
5 U 'n' I 5:53
6 Star On Cicely 4:26
Credits:
Composed By – Miles Davis
Drums – Al Foster
Electric Bass – Marcus Miller, Tom Barney
Electric Guitar – John Scofield, Mike Stern
Percussion – Mino Cinelu
Tenor Saxophone, Soprano Saxophone – Bill Evans
Trumpet, Keyboards – Miles Davis

MILES DAVIS - Tutu (1986-2001) Deluxe Edition / 2CD / RM / FLAC (tracks+.cue), lossless

The controversial but memorable Tutu is mostly a duet between Miles Davis and the many overdubbed instruments of producer Marcus Miller (although violinist Michal Urbaniak, percussionist Paulinho da Costa, and keyboardist George Duke are among the other musicians making brief apperaances). Certainly the results are not all that spontaneous, but Davis is in top form and some of the selections (most notably the title cut) are quite memorable. by Scott Yanow
Tracklist:

1-1 –Miles Davis Tutu 5:15

Written-By – Marcus Miller
1-2 –Miles Davis Tomaas 5:32
Written-By – Marcus Miller, Miles Davis
1-3 –Miles Davis Portia 6:18
Written-By – Marcus Miller
1-4 –Miles Davis Splatch 4:45
Written-By – Marcus Miller
1-5 –Miles Davis Backyard Ritual 4:49
Written-By – George Duke
1-6 –Miles Davis Perfect Way 4:32
Written-By – Gamson, Strohmeyer
1-7 –Miles Davis Don't Lose Your Mind 5:49

Written-By – Marcus Miller

1-8 –Miles Davis Full Nelson 5:05
Written-By – Marcus Miller
Live Performance From Nice Festival, France, Previously Unreleased
2-1 –Miles Davis Octet Opening Medley 15:11
('Theme From Jack Johnson' / 'Speak' / 'That's What Happened')
Written-By – John Scofield, Miles Davis
2-2 –Miles Davis Octet New Blues 5:23
Written-By – Miles Davis
2-3 –Miles Davis Octet Maze 10:15
Written-By – Erin Davis
2-4 –Miles Davis Octet Human Nature 9:01
Written-By – Bettis, Porcaro
2-5 –Miles Davis Octet Portia 7:56
Written-By – Marcus Miller
2-6 –Miles Davis Octet Splatch 17:07
Written-By – Marcus Miller
2-7 –Miles Davis Octet Time After Time 7:26
Written-By – Lauper, Hyman
2-8 –Miles Davis Octet Carnival 4:17
Written-By – Neil Larsen
Credits:
Arranged By – George Duke (tracks: 1-5), Marcus Miller (tracks: 1-1 to 1-4, 1-6 to 1-8)
Bass Guitar – Marcus Miller (tracks: 1-5)
Design [Original] – Susan Welt
Drums – Vincent Wilburn, Jr. (tracks: 2-1 to 2-8)
Drums, Percussion – Omar Hakim (tracks: 1-2)
Electric Bass – Felton Crews (tracks: 2-1 to 2-8)
Electric Violin – Michal Urbaniak (tracks: 1-7)
Guitar – Robben Ford (tracks: 2-1 to 2-8)
Instruments [All Other] – George Duke (tracks: 1-5), Marcus Miller
Percussion – Paulinho Da Costa (tracks: 1-1, 1-3 to 1-5), Steve Thornton (tracks: 2-1 to 2-8)
Percussion [Additional] – Steve Reid (tracks: 1-4)
Programmed By [Synthesizer, Additional] – Adam Holzman (tracks: 1-1 to 1-8), Marcus Miller (tracks: 1-1 to 1-8)
Saxophone – Bob Berg (tracks: 2-1 to 2-8)
Synthesizer – Adam Holzman (tracks: 2-1 to 2-8), Robert Irving III (tracks: 2-1 to 2-8)
Synthesizer [Additional] – Bernard Wright (tracks: 1-2, 1-7)
Synthesizer [Solo] – Adam Holzman (tracks: 1-4)
Trumpet – Miles Davis (tracks: 1-1 to 1-8)
Trumpet, Synthesizer – Miles Davis (tracks: 2-1 to 2-8)

MILES DAVIS / MARCUS MILLER - Music from Siesta (1987-2013) Jazz Best Collection 1000 – 10 / RM / FLAC (tracks+.cue), lossless

This collaboration between Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis's melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for. by Scott Yanow

Tracklist:

1 Lost In Madrid Part I 1:48

2 Siesta / Kitt's Kiss / Lost In Madrid Part II 6:54

Acoustic Guitar [On Siesta] – John Scofield

Drums [On Siesta] – Omar Hakim

3 Theme For Augustine / Wind / Seduction / Kiss 6:33

Composed By [Theme For Augustine] – Marcus Miller

4 Submission 2:32

5 Lost In Madrid Part III 0:49

6 Conchita / Lament 6:43

7 Lost In Madrid Part IV / Rat Dance / The Call 1:41

8 Claire / Lost In Madrid Part V 4:33

Classical Guitar [On Claire] – Earl Klugh

9 Afterglow 1:41

10 Los Feliz 4:35

Flute [Flutes] – James Walker

Credits:

Composed By – Marcus Miller

Instruments [Other Instruments Played By] – Marcus Miller

Producer – Marcus Miller

Programmed By [Synthesizer Programming] – Jason Miles 

Trumpet – Miles Davis

MILES DAVIS - Amandla (1989) WV (image+.cue), lossless

A particularly strong set by late-period Miles Davis, this LP is highlighted by a surprisingly straight-ahead performance titled "Mr. Pastorius." In addition to Davis and his new altoist Kenny Garrett, various guests (including Marcus Miller, guitarist Jean-Paul Bourelly, Joey DeFrancesco on keyboards, Rick Margitza on tenor, pianist Joe Sample, and bassist Foley) get their chances to play next to the great legend who is in top form. An excellent effort, it was really his last studio recording with his regular band. by Scott Yanow
Tracklist:
1 Catembe 5:35
Percussion – Don Alias, Mino Cinelu
2 Cobra 5:15
Guitar – Michael Landau
Keyboards – Joey De Francesco
Keyboards, Synthesizer [Synclavier], Producer, Arranged By, Written-By – George Duke
Recorded By – Eric Zobler
3 Big Time 5:40
Drums – Ricky Wellman
Guitar – Foley, Jean-Paul Bourelly
Percussion – Don Alias
4 Hannibal 5:49
Drums – Omar Hakim
Guitar – Foley
Percussion – Paulinho Da Costa
5 Jo-Jo 4:51
Guitar – Jean-Paul Bourelly
Percussion – Paulinho Da Costa
Tenor Saxophone – Rick Margitza
6 Amandla 5:20
Drums – Omar Hakim
Percussion – Bashiri Johnson, Don Alias
Piano – Joe Sample
7 Jilli 5:05
Drum Programming, Guitar, Keyboards, Co-producer, Arranged By, Written-By – John Bigham
Drums – Ricky Wellman
Guitar – Billy "Spaceman" Patterson, Foley
8 Mr. Pastorius 5:41
Drums – Al Foster
Programmed By [Synthesizer] – Jason Miles 
Credits:
Arranged By – Marcus Miller (tracks: 1, 3 to 8)
Bass, Keyboards, Drums, Guitar, Bass Clarinet, Soprano Saxophone – Marcus Miller
Executive-Producer – Miles Davis
Soprano Saxophone, Alto Saxophone – Kenny Garrett (tracks: 1 to 7)
Trumpet – Miles Davis
Written-By – Marcus Miller (tracks: 1, 3 to 6, 8)

JASON MILES - Cozmopolitan (2005) FLAC (image+.cue), lossless

THE BRECKER BROTHERS - Detente (1980) FLAC (tracks+.cue), lossless

The epitome of cool, the Brecker Brothers were one of best-selling jazz fusion outfits of the mid-'70s to the early '80s. Randy Brecker (trumpet/flügelhorn) and Michael Brecker (tenor sax) were ubiquitous session players and also members of the New York band Dreams. By the mid-'70s, they started recording under their own name. Their subsequent albums, The Brecker Brothers, Don't Stop the Music, and the live Heavy Metal Be-Bop all find the group doing challenging melodies in a genre that often played it too stupid. Detente finds them during a time when jazz playing was starting to get more lucrative. Keyboardist and producer George Duke was behind the boards for Detente. Although the Brecker Brothers and Duke are probably mainstays in any jazz fusion collection, their styles aren't analogous. Some of the tracks here clearly prove that point. "You Ga (Ta Give It)" and "Not Tonight" both come off as a little too radio-friendly. Not surprisingly, the best cuts here have both the classic intelligent Brecker Brothers sound as well as George Duke's production prowess. The sophisticated and funky "Tee'd Off" gets the Brecker Brothers on more familiar terrain and features a sinewy guitar solo from the underrated Hiram Bullock. The highly charged "Squish" and "Baffled" both display Randy Brecker's singular arranging skills. "Dream Theme," arranged by Michael Brecker, is the album's best song, reflective yet not melancholy, with his saxophone felt and flawless throughout. The last track, "I Don't Know Either," has solos from both of the Brecker Brothers, and displays the level of skill that many jazz outfits simply didn't possess. Detente features work from a litany of jazz players, including Neil Jason and Steve Jordan in addition to Duke. Despite a few lukewarm tracks, Detente is well worth picking up. by Jason Elias 
Tracklist:
1 You Ga (Ta Give It) 4:30
Composed By – Randy Brecker
Vocals – Carl Carwell, D. J. Rogers
2 Not Tonight 3:57
Composed By – Michael Brecker, Neil Jason
Lyrics By – Neil Jason
Vocals – Carl Carwell
3 Don't Get Funny With My Money 4:33
Lyrics By – Luther Vandross
Music By, Lyrics By – Randy Brecker
4 Tee'd Off 3:43
Composed By – Michael Brecker
5 You Left Something Behind 4:00
Lyrics By – Debra Barsha
Music By – Randy Brecker
6 Squish 5:51
Composed By – Randy Brecker
7 Dream Theme 5:39

Composed By – Michael Brecker

8 Baffled 5:21
Composed By – Randy Brecker
9 I Don't Know Either 5:48
Composed By – Michael Brecker
Credits:
Bass – Marcus Miller, Neil Jason
Drums – Steve Gadd, Steve Jordan
Guitar – David Spinozza, Jeff Mironov
Keyboards – Mark Gray, George Duke, Don Grolnick
Percussion – Airto Moreira, Ralph MacDonald, Paulinho da Costa
Producer – George Duke
Tenor Saxophone, Flute – Michael Brecker
Trumpet, Flugelhorn – Randy Brecker
Vocals – Carl Carwell, D. J. Rogers

THE BRECKER BROTHERS - Straphangin' (1981) FLAC (tracks+.cue), lossless

The early '80s were a confusing time for many a jazz musician. The temptation to dabble in such waters as disco, funk, and rock was a risky proposition: pull it off and you were a genius, fail and you were the laughing stock of the industry. Falling somewhere in the large grey area between those two poles, the Brecker Brothers started the decade with Straphangin', a seven-song excursion into all sorts of fusion and AOR-like territories. No doubt taking sonic cues from Spyro Gyra and Steely Dan, the guys open the album with the mellow title track and the equally suggestive "Threesome" before stepping things up with the highly percussive "Bathsheba." "Why Can't I Be There" could easily find its way onto the playlist of a soft rock fan, but on the whole Straphangin' is a mixed blessing. Not the best album they ever put out, but certainly far from their worst. by Rob Theakston
Tracklist:
1 Straphangin' 8:04
Written-By – Michael Brecker
2 Threesome 6:21
Written-By – Randy Brecker
3 Bathsheba 6:58
Written-By – Michael Brecker
4 Jacknife 6:16
Written-By – Randy Brecker
5 Why Can't I Be There 4:58
Written-By – Randy Brecker
6 Not Ethiopia 5:41
Written-By – Michael Brecker
7 Spreadeagle 5:54
Written-By – Randy Brecker
Credits:
Bass – Marcus Miller
Drums – Richie Morales
Guitar – Barry Finnerty
Keyboards – Mark Gray
Percussion – Don Alias (tracks: 6), Manolo Badrena (tracks: 1, 3, 4, 5, 7), Sammy Figueroa (tracks: 1, 3, 4, 5, 7)
Producer – Michael Brecker, Randy Brecker
Tenor Saxophone – Michael Brecker